Artist amps johnson
Smooth blues slide? Mellow, soulful tones with an edge? Epic gear? Check and double-check. It's hard to stand out as a blues guitarist, but Justin Johnson has built an enormous following of loyal fans because he is too good to ignore.
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NAMM 2015: Eric Johnson Demos His Signature Roland Blues Cube Tone Capsule — Video
See it now. Here are all of the amps that it emulates along with a bit of their history, where you may have heard their signature tones, and how our models compare to the originals. Even with that dynamic range, its low wattage keeps it totally under control for recording. For our model, the knobs range from 0—10 instead of 1—12 on the original to better match the other amps in Eleven, and for consistency with automation and control surface controls.
Turning either the Instrument or Mic channel volume to zero will un-jump the channels though the patch cord will remain onscreen. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven by any artist or band.
It was also covered in the same tweed suitcase cloth used on the Fender Deluxe. Always willing to make a design better, Fender eventually felt that using four inch Jensen speakers had a tighter bass response while still keeping the high-end intact.
By , the Bassman had closer to 50 watts of power, using two military spec 6L6 power tubes, and four inputs high and low for each channel.
Along with controls for Bass, Middle midrange , and Treble, a negative feedback Presence control also allowed for more tweaking of the high-end frequencies. Though no patch cord is present on screen, turning either the Instrument or Mic channel volume to zero will un-jump the channels. With an easy-to-overdrive but still not over-loud watt 6L6GC-based power section and a single inch speaker in an open-back cabinet, the amp strikes a great compromise between the crunch of smaller models in the line and the hall-filling clean tones of the larger models.
Our amp offers a range of volume and tone controls, plus four Tremolo settings. We also added a midrange control not found on the original for more tonal versatility.
For nearly the entire time Leo Fender was designing amps, he always made sure to have a version of the Fender Deluxe. Fender made both a Deluxe and a Deluxe Reverb at the same time. However, with its bigger cabinet and extra gain stage which was used to isolate the reverb tank from the preamp , most players preferred the sound of the Deluxe Reverb. These names are used solely to identify the classic amplifiers emulated by Eleven. Though small in stature and volume, the amp offers sweet, gently driven tones and straight-ahead spank in droves.
Its ability to produce classic tube amp sounds at low volumes made it a studio standard for decades. The amp became a legend among country pickers, blues players, and other guitarists who favored high-volume clean tones. Our version offers Volume, Treble, Mid, and Bass controls, along with a Bright switch which can be toggled on and off using the SW2 button and four Tremolo settings—Speed, Sync, Intensity, and Vibrato—to capture the full tone profile of the original.
Designed as a cheaper alternative to Fender amps, the JTM45 became known for its warm, clean Fender Tweed-like sound, giving way to a dirtier bluesy sound when cranked—unlike later Marshall amps, which are known for their signature "crunch".
Our model features two bridged input channels, each with its own volume setting, which can be blended together using the Volume 1 and Volume 2 controls. Both have different tonalities—Channel 1 offers a fairly flat tonal response, while Channel 2 is somewhat darker-sounding.
It became so popular that Vox eventually redesigned the control panel and officially added the circuit to the AC30 in Tremolo and Cut presence are active on both channels. However, just like the original, the Treble and Bass controls are only part of the Brilliant channel, and have no effect on the Normal channel.
With two inch Jensen speakers and a quartet of 6L6 tubes pushing 80 watts, no concert stage was complete without one. For some players, such as Eric Johnson who uses two amps in stereo, a Twin Reverb is the only amp that can really keep up with a driven Marshall half stack.
Another special feature of the blackface-era Twin Reverb is the inclusion of a Bright switch. For our model, just like the original, as you turn the Volume knob up, the Bright switch has less of an effect.
When guitarists want it loud, they turn to Marshall, and the Super Lead "Plexi" was among the loudest when it arrived. Known for its warm, bluesy tone, the amp is embraced by many revered blues and rock guitarists, including Pete Townsend, Eric Clapton, and Angus Young. This amp simulates that amp having its voltage reduced by a variable transformer called a Variac—a custom mod made famous by Eddie Van Halen, producing the much-loved "Brown" tone.
In , Marshall changed up the circuitry in its Super Lead Plexi series of amps, giving them more brightness, which brought out even more crunch. Our Plexiglas model is based on the legendary watt head, which was designed with a lower power tube plate voltage, and is known to break up at lower levels than its watt counterpart.
We also "jumped" both channels for even more gain. Bassists bow to the great Ampeg SVT bass amplifier. And now you can get that thunderous, sought-after sound of rock legends worldwide with our emulation of the vintage watt Ampeg SVT bass amp head.
Pair it with the 8x10 Blue Line speaker to re-create that massive legendary sound. On the original amp, the U-Lo and U-Hi controls are on-off switches. In , Fender amps were expensive and hard to find in England. Within two years, Marshall needed a bigger factory, and his amps were gaining favor among a new crop of local guitar players. It was a volume-hungry Pete Townsend who eventually asked Jim to make a watt head and 8x12 cabinet.
By , Jim Charles Marshall finally ended a bad distribution deal, which kept the company financially strapped for over a decade. He decided to trim the amp line down and focus on his new flagship amp, the JCM Named after the license plate on his car which was just his initials and a plate number , the JCM delivered massive distorted rhythm sounds thanks to its cascaded preamp design, a quartet of EL34 tubes, and the addition of a master volume. Mesa Engineering was originally started by amp repairman Randall Smith so he could buy supplies for his other job, rebuilding Mercedes engines.
In , while repairing amps in his shop at Prune Music in Berkeley, CA, Smith left what he thought of as a practical joke in the storefront. Over the years, Smith continued to improve his designs to include features such as switchable channels, effects loops, a slave out, 5-band EQ, and a power tube mode called Simul-Class. Soldano quickly got a reputation for doing high-gain mods to old Marshall heads. His goal was to add lots of gain without losing definition or clarity. This led to the creation of his own watt amp called the Super Lead Overdrive.
Set to Normal, the amp is stock. With Mod engaged, the treble boost that would normally happen at lower gain settings is removed, which leads to a rounder, thicker sound. The Mod circuit has progressively less effect as the gain is raised, and no effect when the preamp is set to With more tone-tweaking options and distortion than any Boogie before it, the amp became the industry standard for players looking to achieve a massive sound.
It first gained exposure at the end of the grunge period with bands like Alice in Chains and Soundgarden. The Dual Rectifier has also become a favorite of bands such as Creed, and more recently the Foo Fighters. With the ability to run on either 6L6 or EL34 tubes, the Dual Rectifier was named for its ability to select between either tube or silicon diode rectifier circuits.
For Treadplate Modern, we set it on the Red channel using 6L6s, a silicon rectifier, and the Bold power setting for a tight, aggressive tone. For Treadplate Vintage, we modeled the Orange channel with 6L6s, a tube rectifier, and the Spongy power setting for a more fluid lead tone. With three distinct channels—Red lead , Blue rhythm , and Green clean —and a discrete preamp circuit for each channel, the watt Bogner Ecstasy boutique amp enabled variety-hungry guitarists to achieve a huge range of vintage amp tones, without the tonal and ergonomic issues of modular amp setups.
The Red channel excels at high-gain lead tones, the Blue is suited to chunky rhythm playing, and the Green focuses on clean tones. Our model offers a variety of volume, tone, gain, presence, and boost controls, plus a Bright switch. We designed this custom bass amp with a scooped lower-midrange response, enabling you to achieve more thundering lows with a tighter response than the original amp.
And—unconventionally for a bass amp—ours offers a tremolo circuit. We made a couple of simple component swaps to change the tone significantly, and added a Bright switch to provide additional tonal range. We tweaked our version to provide shimmering clean tones.
Based on the JCM, we added loads of extra gain and a carefully tweaked tone stack for a little extra thump! It features a tight, extended low-end and high-gain capability—perfect for players of extended-range guitars. Based on the tweed-era Deluxe, we added more gain and a Bright switch. To make it even more versatile, we added the blackface-era tone stack and tremolo. Using single-coil pickups, you can achieve glassy clean sounds and punchy leads with ease.
It takes the preamp section from our Plexiglas model and marries it to the power section of our AC Hi Boost model, with further tonal enhancements. Cookies allow us to remember your sign-in details, to optimize site functionality and to deliver content tailored to your interests. We collect and use personal information, such as cookies, in accordance with our Privacy Policy. Click "Agree and proceed" to accept cookies and go to our site or visit our Privacy Policy to learn more about cookies.
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Jamey Johnson
Sitemap - Bogner Amps. New video featuring Disciples of Babylon in the studio! Oxford Fuzz Pedal! Cool Helios video by Riccardo Bacchi. Bogner Amps video montage from the L. Amp Show!!
Amplifiers
Eminence has had the pleasure of working with George Alessandro for many years, building custom guitar speakers to his specifications for many of his high-end amplifiers. Together we collaborated with legendary guitarist Eric Johnson on what we think is the finest alnico guitar speaker on the market, the Eric Johnson Signature EJ What do you do, and what sets you apart? The Alessandro trademark was put into place to define a new concept of true high-end products. The Working Dog mark was about quality, and cost effective products for the working musicians out there. Eminence: How did you first get started in the industry? How did you learn your trade? George: I earned an associates electronics degree out of high school, worked servicing 2-way radios for a couple years, then went back to college for my BS in Biology and Chemistry pre-med at the time. It was a hobby at the time. At 15 years old, my first guitar and amp was an Ibanez Roadstar and Peavey Bandit.
PAST ARTISTS
Over the years, many famous musicians, recording artists and producers have selected McIntosh audio systems for their sound quality. The loyalty from the music community began in the s era of rock and roll. Several of our brand ambassadors have shared their experience and passion for McIntosh which has often spanned across decades. At McIntosh, we care about the satisfaction we bring and the product experience of all our customers. We invite you to share your stories with us and the world on our Facebook page.
Art Zone segments
Perla Batalla. Lisa Morales. Drive-By Truckers New Date! Colin Hay. Event Tags.
design philosophy
Solid Body Electric Guitars. Johnson replaced the original pickups with Seymour Duncan Antiquities because, according to Johnson, they're "a little more powerful than the originals. Overdrive Effects Pedals. No one cares more about tone than Eric Johnson, and his choice for getting sweet, singing lead tones is the Eric Johnson Signature Fuzz Face. Delay Effects Pedals. Eric Johnson uses an Electro-Harmonix Memory Man in his clean rhythm circuit signal chain, as seen in on his pedal board in this Premier Guitar interview at Chorus Effects Pedals.
Gordie Johnson
Her recordings include the original studio album of Hadestown , featuring Justin Vernon and Ani Difranco and Young Man in America , along with reinterpretations of traditional music including Child Ballads , with Jefferson Hamer and Bonny Light Horseman , as Bonny Light Horseman, which received two Grammy nominations. The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. Johnson, and Josh Kaufman—is mixing the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush.
Past Events
RELATED VIDEO: Eric Johnson Blues Cube Tone CapsuleMixed media collage, 6 inch diameter. Courtesy of the Halsey Institute. Woodcut printed on Awagami paper, 14 x 12 inches. Cato Jr. Conceptual artist Ray Johnson —95 was a pioneer of mail art, utilizing an ever-evolving lexicon of graphic and textual elements in his work.
Darius Rucker Acoustic. John M Acoustic. Karen Bella Acoustic. Gerry Saulter Acoustic. Giuseppe Gilardi Electric.
See it now. Here are all of the amps that it emulates along with a bit of their history, where you may have heard their signature tones, and how our models compare to the originals. Even with that dynamic range, its low wattage keeps it totally under control for recording.
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